Deathspell OmegaThe Synarchy of Molten Bones

The fact that we know as little as we do about French black metal collective Deathspell Omega speaks to their dedication solely to their music.

The band don't perform live and have never been photographed — even the real names of all their members aren't publically known. Yet, they remain one of the most influential acts in 21st century metal thanks to their chaotic fusion of different styles, mainly black metal and progressive metal. After a going on a nonstop hot streak of albums and EPs from 2004's Si monvmentvm reqvires, circvmspice to 2012's Drought, the group has been curiously silent for the past four years. That silence violently ends with their new EP, The Synarchy of Molten Bones.

With four songs that clock in at around 29 minutes collectively, Deathspell Omega have a limited amount of time to come in, send their message and leave, but they make the most of everything they have. No single minute on this EP sounds the same as the last, with every moment bringing a new chaotic riff or change of speed. From the cacophony of the opening title track to the classic black metal in the middle of "Famished for Breath" to the 10-minute "Onward Where Most With Ravin I May Meet," the project is a constant attack on the listener's senses, from every direction. Harkening back to their most recent full-length record, Paracletus, the band go through multiple phases with each song, some melodic, some destructive, all of them crushing in their intensity.

Closing track "Internecine Iatrogenesis" relies a little too much on a familiar black metal riff, but not enough to keep it from being an effective closer. The Synarchy of Molten Bones has almost enough meat on it to function as a short full-length album, and serves as a reassurance that the band haven't gotten the least bit rusty in their time off. Hopefully, that reassurance will translate into a new album soon.
(Norma Evangelium Diaboli)